Empress Theodora, Theodoric the Great, Mary Magdalene and the Rennes le Chateau Mystery.
It is possible that the Cult of Mary Magdalene developed in part from the legacy of St. Andrew via an appreciation of Constantine but filtered through the dynamics of the Byzantine court of Emperor Justinian I and his Empress Theodora. It does appear as if Empress Theodora had injected a degree of Gnosticism and Coptic teachings into the Byzantine Court. Both Empress and Emperor were likely aware of the true meaning of the Labarum symbol and its association with both Constantine and St. Andrew. The reign of these two rulers would see a great deal of turmoil but would also see the Empire restored to its greatest size since Constantine had ruled. There are many parallels between the life and philosophy of Theodora and what may later be termed a belief that Mary Magdalene had been married to Jesus and had bore his Children.
It is clear that Constantine had a value of the sacred feminine in some of the architecture that he constructed upon the founding of Constantinople. The Forum of Constantine was a magnificent structure located west of the Daphne Palace and future site of the Hippodrome of Theodosius and its Egyptian obelisk and tripod from Delphi known as the “Serpents Column” today. The Forum of Constantine was a circular monument that resembles in some ways St. Peter’s Square of the Vatican today which is more oval in plan. The central feature of the forum was known of as Constantine’s Column.
It is this monument of Constantine that may help to clue us into the Emperor’s value of both Pagan and Christian feminine concepts. The column itself was typical of monuments that had been constructed by other Roman rulers such as Trajan. Constantine’s Column was said to have been over 150ft. in height and was topped with a statue of the Emperor nude holding what appears to be the Spear of Destiny, dressed as Apollo while holding a sphere in his other hand. The sphere included in this statue was said to have held a portion of the One True Cross of Christ that had been procured from Jerusalem by Constantine’s mother Helena. The Forum of Constantine also included a shrine or memorial that also included other relics including fragments of the crosses of the two convicts that were crucified beside Christ. The Baskets from the loaves and fishes miracle were also included in this kind of early shrine and museum.
Constantine built this column in about 330 to commemorate the founding of Constantinople. The establishment of his capitol originally known as “Nova Roma” would involve two of the most sought after Christian relics of history. The founding of the City involved a ceremony during which Constantine traced out the Royal District of the city using the spear of destiny as his plowshare. Traditionally land was sometime demarked by how much of it could be plowed in a day. This ceremony seems to echo this tradition. Through history this ceremony is visible in the dedications of the Paris Observatory and a small town in California named Chico whose founder John Bidwell utilized the same tradition. Over time this rite may have become part of the founding of cities somewhat similar to the establishment of a building by the laying of the corner stone ceremony. This ceremony may be referred to in the statue of the Emperor atop his column in which he is holding what may be the Spear of Destiny.
The sanctuary or temple that was associated with Constantine’s Column also included two interesting items one associated with Mary Magdalene herself and the other a symbol that would come to be associated with her over time. The shrine at the forum also included what was said to have been the anointing jar of Mary Magdalene. The temple also included the wooden Palladium or statue of Pallas Athena that had been present at Troy at the time of the battle. The legacy of Mary Magdalene along with the symbol of Pallas Athena would be valued by a variety of people through history who may have known the truth of what Constantine had believed. As we see along the path the symbols of AVM, X, and the Chi Rho including the Alpha and Omega may have been valued by a series of families and descendants who used them to communicate their true beliefs regardless of any superficial allegiance to the Catholic Church with they did value in tandem.
Here at the Column of Constantine we may be seeing the beginnings of a long legacy of value of the Jesus Christ, Mary Magdalene, St. Andrew, and St. James that had begun with Emperor Constantine himself. Both of these Pagan Analogues of Mary Magdalene may have contributed to a value of her on the part of former Pagans who saw her as a metaphor for their values. Constantine himself may have viewed Pallas Athena as a metaphor for Mary Magdalene. Later we may see an almost identical value on the part of Sir Francis Bacon and even Thomas Jefferson who built octagonal structures in the tradition of Constantine.
Through an interesting chain of events we may see how this portion of what would come to be known of as the Holy Rood may have also been possessed by a series of powerful women who had carried on a value of Mary Magdalene as defined by Empress Theodora herself. It may also be possible that they possessed other relics from Constantine’s Column or the Hagios Constantinus as some sources refer to the shrine. The Wisdom of Constantine may be an appropriate name for a memorial that reveals so many things about what the Emperor believed to be true. It is possible it is the truth of Constantine and what he believed was found by different Orders of Knights in the Latin Kingdom of Jerusalem during their occupation there. This may also lead to the possibility that Constantine had been interred beneath the Temple Mount with information that would have corresponded with the imagery of Mary Magdalene and Pallas Athena seen at the Column of Constantine. (more see “Sacred Towers of the Axis Mundi.”) It is also more likely that this information was carried on via a secret sect that Theodora had created herself that had many overtones and references to Mary Magdalene included.
The later mythology surrounding Mary Magdalene has to a large degree been influenced by the Anjou Family. It is also clear that they were privy to the directional attributes of the octagons that Frederick II had constructed and their associated templum or sphere of control. Basilica St. Maximim is a monument to their knowledge of this in the way that St. Michaels Tower octagon points to this place. It is almost as if Charles II had chosen this place to find Mary Magdalene’s remains along an arc suggested at St. Michael’s Tower at Monte ‘Sant Angelo Italy.
The story of St. Maximim displays a well accepted version of a story that includes Mary Magdalene’s remains having been there since the first century. It is true that Christianity did come to France at a very early stage in its development. This region far from Jerusalem and the Holy Land may have been seen as a good escape for those being persecuted there after the Crucifixion. It is not hard to believe that there is some degree of truth in the stories of Mary Magdalene some of which include the fact that she bore the children of Christ. Some stories even have one of their daughters named Sophia.
Via the Anjou’s values of Mary Magdalene it seems that the culture of her took on more significance than that of St. Andrew in their eyes. There may be many rational reasons for this difference in value. Values of both Mary Magdalene and St. Andrew are based on apocryphal information or beliefs that were not included in the Canon of Nicea or later agreements. While the Anjou’s still knew of and valued the Imperial value of St. Andrew and his cross in the form of the Labarum something about this whole story still inspired them to hold the idea of Mary Magdalene in high esteem at a time when they were very influential Christian Catholic Kings associated with the Holy Roman Empire and the Vatican. Whatever context they seemed to be valuing the Magdalen in also seemed to be not interfered with on the part of the Vatican. Is it possible that the Anjou’s had a gnostic view of Mary Magdalene or did they view her in the same context the Catholic Church does? Was this value a rejection of standard Church doctrine?
Even if the stories of Saintes Maries de La Mer and the Merovingian Bloodline are not associated with any reality there has to be a reason all these myths and legends were developed. There has to be a cultural root to all of this Magdalene mania and it seems likely it may be associated with a phenomena or historical scheme similar to what had created this view of St. Andrew and a value of his X. In fact there is one prime candidate to have propagated the value of the Sacred Feminine at a time of history that saw a great deal of influence from powerful Women rulers.
To examine these possibilities we may look no further than Empress Theodora co-regent of the Byzantine Empire with her consort Emperor Justinian I. Justinian I was a proponent of the Chalcedonian view of the divinity of Christ being one with his being. Empress Theodora on the other had was a follower of what was known of as the Miaphystic view that Christ was a man who had been divinely inspired yet lived like a man. This part of Theodora’s beliefs were influenced by her family and the places she had been. It is clear that Empress Theodora was an adherent of a more Eastern Coptic Christian belief. These beliefs may have exposed her to more of the concepts of Christianity people like Constantine’s Mother St. Helena believed thus also influencing Constantine’s view of Christ.
Theodora’s life story is very similar to some of the aspects of Mary Magdalene’s life that may have been applied to her legacy in part to smear her reputation. Many people point to the fact that Mary Magdalene was known as a prostitute because of a mix up in the bible between a Mary that anointed Jesus and another that was a follower or disciple of his. It is possible that in a kind of silent war to smear the image of Mary Magdalene she has been cast as a harlot and prostitute. Some people also point to the common custom of temple prostitution as a normal requirement for any women of that culture at various times in antiquity.
Theodora came from the family of a Bear Trainer of the Blue faction of the Hippodrome of Theodosius in Constantinople. She has also been cast as a prostitute in history yet there may be more reason this is at least partially true with regard to the Empress. Theodora was an actress and “dancing girl.” The job description of actresses and dancing girls in this era often included sexual services for a fee a.k.a. prostitution. Some Roman historians make a large distinction between an “actress” of this era and a prostitute managed by a pimp in a brothel.
During the later part of this phase of Theodora’s youth she at some point also spent a few years in Alexandria Egypt where she became an adept of the true Egyptian Coptic form of Christianity that had not been included in the Canon of Nicea but had still survived in some of the fringe regions of the Byzantine Empire. Egypt is especially known for the advent of monasticism and its remotely located Coptic Churches and Monasteries. All monastic orders owe their origins if only in form to the monks of the Egyptian Coptic Faith. It is possible that via her study and belief in this very early form of Christianity that Theodora had come to value the story of Mary Magdalene and how she had bore Christ’s Children and fled to France.
It is even possible that Theodora’s value and knowledge of Mary Magdalene had later started a spark that would ignite a fire of curiosity and respect for her on the part of the Kings of Naples and Sicily who were also descendant of the Hauteville line of Normans. The ignition source for any examination of how Theodora may have valued the concept of Mary Magdalene has to be the amazing architecture and art of Basilica San Vitale in Ravenna Italy. The entire story seems to be told at San Vitale. It is possible if not likely that Theodora and her successor Sophia had taken steps to preserve the legacy of Mary Magdalene as they valued it.
Basilica San Vitale is home to some of the most amazing and colorful mosaics ever produced in history much less antiquity. These masterpieces of the mosaic craft were constructed in the mid sixth century completion of Basilica San Vitale. One could write an entire book on the biblical and hidden meaning of these grand artworks yet we will limit our discussion to three of the most prominent mosaics including those of Justinian I, Theodora, and Christ.
The mosaic of Christ Pantokrator presents Jesus to us in his form as envisioned in the second coming. He is beardless with short hair wearing Byzantine Royal purple robes. He is holding the Seven Seals of the Apocalypse in his left hand. None of them have been opened yet in this work. In this way the entire piece combines with the octagonal shape of the building to present us with a temporally themed Eastern Christian millennial monument. Note again that San Vitale was built over 100 years prior to the said date of construction for the Dome of the Rock. In a very real way San Vitale’s octagonal design was likely inspired by Constantine who had also likely built an octagonal structure that was ruined and rebuilt as the Dome of the Rock utilizing the hidden hand of later Byzantine ruler Justinian II. There are indeed metaphorical hints in the legend of Charlemagne’s Crypt that indicate a value of Justinian II on the Emperor’s part.
It is important to note that though Ravenna is part of what is considered Italy today it was once made the center of all Christian faith in this era prior to the formation of the Vatican and Catholic Church we see today. Ravenna was actually developed in large part by Ostrogothic ruler Theodoric (some spellings show Theoderic) who had also refurbished the Peace Temple of Vespasian in Rome. Theodoric as well as the majority of Goths in general were adherents of the Arian faith which held many similar tenets in common with the Coptic beliefs of Empress Theodora. Many of the Empresses beliefs are illustrated in the mosaics of San Vitale along with the opposing beliefs of Emperor Justinian.
Theodora herself made an attempt to help prostitutes by making it harder on those that took advantage of these young women. The tradition of dowry’s and they way marriages were arranged in this era made it hard for poor women to make a good match that was attractive to a suitor who would usually take the bride with the largest dowry.
Theodora attempted to give many of these women a trade in the weaving industry. This is also interesting in the many legends of the “Weavers” who are said to hide hidden historical and spiritual information in the design of their work. Many of the women Theodora saved from prostitution also became nuns. This factor could have also served to instill a value of the feminine in certain sects of Eastern Christianity. This may hold especially true if Theodora had an involved role in the creation of whatever orders these nuns were a part of. Many of these nuns were also trained to weave as Theodora had become a weaver prior to her marriage to Justinian I. It is said Theodora adapted the art of weaving to escape prostitution. At this time she was noticed by Justinian I. He did not know her when she was a prostitute according to some sources. Others say he was aware of this and did not care.
The weavers also were part of an organized trade guild somewhat similar to early stone masons. It is possible that via this trade guild composed mostly of women that the concept or truth of Mary Magdalene was preserved via an appreciation of her on the part of the Empress. It may be that the weavers preserved this basically Coptic view of Mary Magdalene that may have also later translated to the Arian faith of Theodoric of Ravenna. All of this lore was later applied to the legends of finding the remains of the Mary’s and Mary Magdalene at St. Maximim and later Saintes Maries de La Mer by the Anjou’s.
It does appear as if Charles II (Anjou) and Rene’ Anjou were acting on information they had found telling them of the importance of these places as opposed to the visions and dreams we are told led these men to such important places. They had become privy to or thought they had some information they trusted telling them of these things. Had they gotten this information from the weavers of Theodora? Many aspects of the beliefs of the Cathars in France also seem to bear the influence of both Mary Magdelene and Theodora.
In each case of these hidden values we are seeing nobility value and preserve apocryphal Christian information that was contrary to the canon of the Church. This in turn caused a kind of mystery school secret cult or society centered around St. Andrew and Mary Magdalene. The earlier influence of Empresses Theodora and Sophia solidified the female role in this belief system, which served to further alienate those with these beliefs from the greater Church. In this way the Cross of St. Andrew and the so called “Black Madonna” became symbols appreciated in a way that only adepts of their history and context could truly appreciated. Among those that understood this “language of the birds” were many of the equestrian Orders of the Middle Ages such as the Knights of St. John, and the Knights Templar.
It is clear that Empress Theodora and subsequently Empress Sophia (Wisdom: Athena) may be responsible for the survival and popularity of the mysteries of Mary Magdalene to this day. It is clear that their Coptic belief system allowed for a value of Mary Magdalene that may have included her being an apostle and wife of Christ. This theory is suggested and stated in the scraps of the Gospel of Mary Magdalene discovered at Nag Hammadi in Egypt.
It is also important to note that many of these Coptic beliefs had already come to Europe via the exploits of the Theban Legion of St. Maurice in about 286. This Egyptian Legion comprises many of the earliest saints of Europe. They were a Christian Legion that came to Octoduram in what is today modern Switzerland. This legend involves the defeat of the Theban Legion and the subsequent hunting down and killing of the Christian invaders who refused to denounce their faith. It is clear that this story has many mythical and legendary qualities but it may be assumed that some of the Legion survived and may have spread these Coptic beliefs that they had brought from Thebes, Egypt to Europe at a very early date. The largest connection to Theodora and our theorized Magdalene acolytes is the fact that St. Maurice is also known of as the Patron Saint of Weavers.
Via the tale of the Theban Legion we may also see a distinct appreciation of the Chi Rho symbol including the Alpha and Omega symbols that would later be hidden in the imagery of Mary Queen of Scots and others. Merovingian coinage displays a distinct value of this version of the Chi Rho and depicts their rulers wearing garb almost identical to that being worn by Justinian I and Empress Theodora in the mosaics of San Vitale. It may be that even the Merovingian thought they were related by blood to Byzantine rulers. These values are also evident in the actions and artwork of Mary Sidney and Mary Queen of Scots in the sixteenth century. The personage of Queen Elizabeth herself is also suggestive of a value of these feminine oriented concepts that ran contrary to the doctrine of the Catholic Church.
Later Charlemagne would also display many examples of his obsession with the Byzantines including Constantine, and Justinian I and II. The Chi Rho is plain to see on the Coptic Tunic Patch of Sophia in Theodora’s mosaic at Basilica San Vitale in Ravenna. It is likely that Theodora was aware of and appreciated the image and story of St. Maurice and the Theban Legion. The story of St. Maurice would also later have an impact on the strange tale of Sion, Switzerland and Chateau Tourbillon (Chateau Vortex, yes true).
Given everything we have learned about Theodora is it possible that she even personally took steps to insure the culture of Mary Magdalene would survive? It is possible that the powerful Empress could have created a mechanism or mystery school that insured the survival of the concepts of Mary Magdalene. Later the information included by her may have been found an appreciated by the Anjou’s who seemed to love the Magdalen so much. It is possible that part of this mystery school of the Magdalen involved an appreciation for the mosaic of Theodora and her Court seen at Basilica San Vitale. This mosaic contains clues as to the true beliefs and values of the Empress. It is also entirely within the realm of possibility that this information had been told to the Anjou’s by a specific order of nuns and monks who had cloistered this information for over six hundred years at this point.
The mosaic of Theodora at San Vitale is opposite a similar rendering of Emperor Justinian yet there are distinct differences in both mosaics that display the differing views of Christianity held by the two. The imagery of Justinian’s mosaic shows that he is adherent of the standard Eastern faith of the time not dissimilar in its view of Christ to that of the Latin Church with regard to his divinity. He is shown with his priests including Eccleseus who is holding a model of Basilica San Vitale in his hands. All of the figures in both mosaics are noted for the appearance of the figures floating above the horizontal plane established in these works. This type of rendering may be to denote their regal and divine status within the church of the time.
Theodora’s mosaic displays her alternate Coptic beliefs in a few different ways. The rendering includes figures representative of her Sister and Niece Sophia. Both the figures of Sophia and her mother include the presence of what are known of as Coptic tunic patches sewn onto their robes thus indicative of their beliefs. The designs present on these patches may include hints that their Coptic beliefs also included a veneration of Constantine and the Labarum symbol as well.
Theodora’s mother’s (figure to Theodora’s left) tunic includes patches that display and eight pointed star composed of two squares with one of them being rotated 45 degrees to form an overlaying diamond over the square. An octagonal array being shown on a Coptic tunic patch within an Octagonal Basilica. Here we see a repetition of the value of the octagon as displayed by Constantine as well as in the design of the structure where these mosaics are present. Here this design is associated directly with those possessing known Coptic beliefs. This value of the octagon in fact may be more associated with Constantine and a belief in a more Eastern form of Christianity even on the part of the first Christian Emperor himself. This may be one of the reasons that Theodora had been attracted to this form of the faith. Theodora would have also been aware of the legacy of the octagon as it applies to Isis, Ishtar, and the Tower of the Winds in Athens.
Theodora’s attraction to Coptic beliefs may have also contributed greatly to a hidden belief in Mary Magdalene on the part of subsequent rulers like the Kingdom of Aragon who even controlled the Byzantine Empire portion of Constantinople and Greece during the Crusades later. An examination of the facts of the retaking of Greece by the Crusaders may reveal that they had as much of a value of this region as they did of Jerusalem and other holy sites they had reconquered. Lost in the history of this story is the fact that Charlemagne and other subsequent European nobles may have believed they were related to Constantine who in turn may have propagated the idea that he was descendant of Christ via Mary Magdalene. It may be that Theodora held the same beliefs.
This association and appreciation of Constantine is displayed on the Coptic tunic patch featured on the robe of Theodora’s niece Sophia. The imagery even of Sophia’s name (Wisdom) is redolent of the value of Pallas Athena in gnostic beliefs later in history. This association with Wisdom and a heritage that includes the eight pointed star of Ishtar may all in turn relate to the concepts we see being valued in association with Mary Magdalene later during the time of the Anjou’s. In fact the imagery of Sophia and Mary Magdalene are almost identical.
The tunic patch of Sophia displays the sign that Constantine saw in the sky thus becoming the Labarum. The rendering of this sign on Sophia’s robe is a more natural yet artistic display of this imagery. The patch is composed of what appears to be a blazing sun with an X shaped design present crossed over the central portion of the sun overlaying a Greek Cross. This is a kind of stylized rendering of the Labarum symbol. It is interesting that there is such a direct reference to Constantine in this Coptic context. Note also that Justinian’s mosaic displays the standard Labarum present on one of the shields of the soldiers present in his mosaic. The X shaped design on Sophia’s tunic patch even appears to display the hooked omega symbol as seen later on the Kensington Rune. If this analysis holds up it may prove that the origins of the symbols on the Kensington stone are of Coptic and not Norse in origin.
The theme of Sophia or Wisdom is also central to one of the recently recovered Coptic Gospels recovered from the Nag Hammadi texts entitled “The Sophia of Jesus Christ.”
The perfect saviour hath said: "Come (you) from things unseen unto the end of those that are seen, and the very emanation of Thought shall reveal unto you how faith in they which are unseen was found in them which are seen, they that belong to the Unbegotten Father. Whomsoever hath ears to hear, let him hear!"
— from The Sophia of Jesus Christ
Here Christ speaks to the hidden wisdom of those unseen that belong to god. The entire concept of Sophia as Mary Magdalene suggests that via her something is communicated that is both secret yet understood by “Whomsover hath ears to hear, let him hear!” Is this suggestive that in order to hear one must already possess Sophia or Wisdom?
Some versions of this story have a woman named Sophia actually being the daughter of Christ and Mary Magdalene. This metaphor may have also taken the form of a female named Sophia being the child of Mary Magdalene and Christ. This relationship also echoes the image of the “perfected man” as displayed as the hypotenuse of a rectangle representing the child wile the additional two sides represent the mother and father. In this case the “perfected man” is a result of the efforts of Jesus Christ and Mary Magdalene as the mother and father of wisdom. In this case the “perfected man” is a woman named Mary Magdalene thus also associating her as an apostle of Christ equal to the other male apostles. This is one of the concepts that have contributed to an appreciation of the “Sacred Feminine” at different periods in history including contemporary society.
Theodora is holding what may be representative of the Holy Grail Chalice in her hands in this mosaic. This object appears to be a large jeweled chalice. Many point to this being the ceremonial cup used in the Eucharist. In this Coptic context we may be seeing a very early representation of the Holy Blood or Sangraal concept we see later associated with Mary Magdalene. Theodora is telling you in this mosaic that she is holding the Holy Grail. In many symbolic and real ways Theodora is telling us about the Christian mystery of Mary Magdalene and the life of Christ. To Theodora the Holy Grail may represent the truth about Christ and the feminine aspect of the divine as represented by Mary Magdalene. This concept has continually been destroyed and subverted by the Catholic Church.
The fact that her niece Sophia followed her as Empress may have been part of an attempt to perpetuate this kind of belief that also included a view of women as ecclesiastical and social equals in the hierarchy of Byzantine nobility at this time. After this era we see the Latin Church with its apparently anti-female policies slowly and intentionally attempting to wipe any form of this belief from the face of the earth. The Latin Church was known to have destroyed as many copies of the Gnostic Gospels as possible during their persecution of the Coptic that seems to be continuing today in modern Syria. This ultimately is what leads us to the Mystery of Rennes le Chateau and all of the lore of Europe associated including according to some The Knights Templar themselves.
Theodora’s robe also includes a rendering of the Three Magi that attended Christ at his birth. The concept of magi and how they were spiritual and academic advisors to kings may be part of the beliefs of the Coptics as well. This part of the belief in use of magi or scholars figures prominently in this entire story or talismanic architecture and art. Here it is inferred that the magi may have taught Christ some of the mystical beliefs associated with a Coptic view. The mosaic of Christ nearby may also hold some clues that will help us to confirm this theory.
The mosaic of Christ at San Vitale also contains many hidden clues that Coptic concepts were at play in what these works were meant to communicate to us. Christ is rendered as what is known of as Christ Pantokrator. In this rendering and others of Christ Pantokrator he is displayed beardless and with short hair sitting atop a globe or a representation of the earth. This mosaic is similar to and from the same age as the Tapestry of Creation located at Girona Cathedral, which also displays a beardless and short haired figure of Christ. It is even remotely possible that the Tapestry of Creation was made by the weaver nuns that had been part of the legacy of Theodora. The motif of the tapestry even matches the Byzantine date range of Empress Theodora and Justinian. It would be no surprise to see their involvement there either. That part of Spain including Girona and Rennes le Chateau were alternately controlled by Justinian I (Septimania) and Theodoric the Ostrogoth.
In the mosaic at San Vitale he is shown also wearing the Byzantine royal purple robes of Kings. In a way this is suggestive that Justinian may have believed he was actually related to Christ via Constantine. Later we may also see this belief perpetuated by Charlemagne who displayed such a great veneration of Justinian and Constantine that one may be left to ponder whether he believed this could be true as well. Many subsequent monuments would also include a similar millennial themes to that of Christ holding the seven seals of the Apocalypse in this mosaic. This may also be representative of a Coptic Enochian view that the earth goes through cyclical changes that can wipe out any civilization.
It seems as if the true beliefs of Justinian and Theodora are being displayed in the artwork of San Vitale all arranged in a structure in the form of an octagon possessing all the temporal themes of the Tower of the Winds in Athens. This again is Justinian valuing his Eastern heritage in the same way Constantine did by acknowledging the importance of the Tower of the Winds via the use of templates to form templum, to define the temporal fabric of a given domain.
Other architecture built by Justinian I and Theodora may also serve to represent a value of the messages we are being sent at San Vitale. Just south of the Daphne octagon of Constantine that Theodora and Justinian lived in is the small church known of as “The Little Hagia Sophia” or officially the Church of Saints Sergius and Bacchus. This small church was built by Isodorus of Miletus and Athemius of Tralles between 527 and 536 A.D. The project was said to have served as a prepatory project for the much larger and Grander Hajia Sophia that began construction in 532. The Little Hagia Sophia was also an important site in the story of how Theodora helped persecuted Mononphisite’s throughout the kingdom by bringing many of them to the Little Hagia Sophia which became a center of this kind of belief during the reign of Justinian I and later Byzantine Rulers. The Little Hagia Sophia is an instrumental monument and real place of gathering for these beliefs long after Council of Nicea had dictated them to be heresy.
The Little Hagia Sophia may also be directly related to Basilica San Vitale in Ravenna via more than the themes and artwork that are present at both structures. It may be more pertinent that Basilica San Vitale which Justinian I is many times credited with building was begun in 526 on year prior to St. Sergius and Baccus or The Little Hagia. The Little Hagia Sophia is oriented at very close to 291/ 111 degrees true north in plan. An arc on the globe plotted from Little Hagia Sophia at this heading transects the globe directly to Ravenna and Basilica San Vitale. Theodora and Justinian I likely intentionally arranged this clue in the overall mystery that associates the themes and values of Mary Magdalene in the realm of Christianity. This may later also be associated with similar beliefs held by Theodoric the Great and others of the Arian faith.
This association also lends a great degree to the talismanic and directional values of the octagon of Basilica San Vitale itself. It is clear that San Vitale was built in the tradition of Constantine and seems to be relaying the same kind of gnostic Christianity mixed with Pagan overtones that Constantine himself seemed to value. Two places very important to the early value of Mary Magdalene on the part of imperial interests that would still be seen well over a thousand years later up into the modern world of the 21st century. The influence of Mary Magdalene in a mystery school context is seen at many different mysteries during many different eras of history. Through time it is clear that these notions later became valued as part of a Rosicrucian framework that many people who felt they had descended from Constantine, Mary Magdalene, Jesus, or his brothers and sisters, had adapted the doctrine set forth by Theodora in the early sixth century. Even Thomas Jefferson displayed his knowledge of this concept in the painting of Mary Magdalene by Ribera.
Theodora had almost single handedly salvaged these historical and spiritual views from the dust bins of history. Opposing elements had tried to wipe this information off of the face of the earth and Theodora had opposed them from an authoritative and powerful position in the east. What she had accomplished is one of the most amazing and well kept Secrets of Western History. Later Masonic, Rosicrucian, and Jesuits, would come to value the mystery school that surrounded the figure of Mary Magdalene. People from the most powerful rulers to the most humble Pilgrim would come to value the concepts of Mary Magdalene as preserved by Empress Theodora, Sophia, and other later powerful and charismatic women leaders through history.
Is it possible that the mystery of Rennes le Chateau, which seems to include a great deal of the imagery of Mary Magdalene is intentionally associated with San Vitale that seems to possess some of the same concepts? This is possible. The region of the so called Spanish Marches of Charlemagne was controlled by Ostrogothic ruler Theodoric who had also had a hand in the building and design of San Vitale. Much of the imagery of the Rennes le Chateau mystery includes the “Visigothic Pillar” present in which strange parchments were found by Saunière. In fact this region was once controlled by “Visigoths” but the era pertinent to our studies here may include the period in which Theodoric the Ostrogoth controlled the region around Rennes le Chateau during which he also began construction of Basilica San Vitale and Basilica ‘Sant Apollinaire Nuevo. All of this may add up to a distinct value of Mary Magdalene at both Basilica San Vitale and Rennes le Chateau somehow known of and appreciated by Theodoric and possibly Theodora as well.
The “Visigothic Pillar” of Rennes le Chateau also displays the imagery of the Labarum that we see later morphing into the symbols present on the Kensington Rune and modern logo of the College of William and Mary. The pillar includes a cross flanked by the Alpha and Omega symbols as well as the Auspice of Mary sometimes associated with St. Sulpice on its base. The “Visigothic” Pillar of Rennes le Chateau may actually be Ostrogothic and meant to display the same symbology of the Labarum and Eastern or possibly Coptic beliefs at play. These Coptic beliefs may have been among the only ones that included a view of Mary Magdalene that resembles the gnostic views we see of her today. The Visigothic Pillar of Rennes le Chateau also bears a striking resemblance to the Padron (Pillar) of St. James in Irea Flavia (Padron) Spain near Santiago de Compostela. The Padron of St. James like the Visigothic Pillar includes an inscription that includes the word “Sion” in it.
All of this may sum to indicate that part of the legacy of Legio X and the Equestrian Orders involved a belief in St. Andrew coupled with a belief in Mary Magdalene on the part of the Frankish factions after the Cutting of the Elm in 1188. After this time it appears that the English Norman faction gained a value of St. Andrew as displayed in the flags of England, Scotland, and Wales, while the Frankish and German factions developed a strong value of Mary Magdalene while still having regard for the secrets of St. Andrew.
It is apparent that a value of the feminine in Christianity was alive and well as late as the sixth and early seventh century reign of Theodora’s niece Sophia. Even during this era it is likely that their views were simply tolerated by the male dominated clergy of both the Eastern and Latin Churches. Subsequent to this era it is likely that the followers of Mary Magdalene had to continue their veneration of her using the mystery school template that had worked with great success at the beginning of the Christian era prior to Constantine.
The followers of the Magdalene had to keep this belief a secret eventually leading to this value of her on the part of the Anjou dynasty that preserved and perpetuated the legacy of Mary Magdalene in many different ways. Via this association with Rene’ of Anjou many may have mistakenly identified Mary Magdalene with the Knights Templar. This misunderstanding may be in part due to Rene’s title as King of Latin Jerusalem. Anjou held this title at a time when the entire former Latin Kingdom was occupied by Muslim factions. It is also far more likely given the noble associations of Anjou that he would be more closely associated with the Knights of St. John, Rhodes, and Malta.
The mythology of Joan of Arc also includes a distant link to the d’Abbadie family of the Great Cyclic Cross of Hendaye. They once owned Chinon Fortress where Rene’ of Anjou took Joan to first meet the French King Charles.
The Anjou’s may have gained this value of Mary Magdalene via their Kingdom of Aragon relations who controlled what had once been the Spanish Marches of Charlemagne including Girona, Rennes le Chateau, San Juan de la Pena, Montserrat, Zaragoza, and likely Hendaye as well. This belief in turn made its way to Frederick II Holy Roman Emperor and thus to the Stuart (Stewart) family as well. The Aragonese legacy also includes the Isle of Malta as part of its dominions traditionally and they controlled it up until the time it was given to the Knights of Malta in the sixteenth century.
If it was not for Empress Theodora and Sophia the concept and value of Mary Magdalene may have never survived in the form we see today. The secrets of San Vitale and its octagon both help to protect and expose this information to those who are capable of figuring it out. The Secrets of Rennes le Chateau may also have many more veils to be pierced before any conclusion can be made in its entirety with regard to such a place or its real association with Mary Magdalene. There are many hints at Rennes le Chateau including the presence of a common set of symbols associated with those who may follow this Rosicrucian value of Mary Magdalene, St. James, and St. Andrew.
It is important to emphasize the fact that Theodora was a weaver. This is a profession associated in Greek mythology with many tales relative to the importance of Women’s roles in that culture. Athena was the Goddess of weavers and that art was always associated with Women. Sophia is analogous to Athena and was also Theodora’s niece’s name who followed Theodora as Empress of the Byzantine Empire. The art of weaving was identified with gnosis and wisdom yet in ancient Egypt weaving was done by Males. In Greece it is almost suggested that weavers held a kind of respected yet mystical role.
In the tale of the Minotaur it was Ariadne who spun the clew that allowed Theseus to find the middle of the labyrinth and exit safely. Again in the tale of the Odyssey Penelope the wife of Odysseus continually weaves to avoid the advances of the many suitors that came to win her hand. The name Ariadne is the root origin of Arachnid or the name for insects we call spiders. Spiders weave. Spiders also commonly have eight legs suggesting a value of the octagon. Occitan. Langue d’oc.
“Metamorphoses” was written by Ovid in the sixth century at a time when Theodora was still alive. This tale tells the saga of Philomela who is brutally raped with her assailant also cutting her tongue out. Using the craft of weaving Philomela tells the story of what happened to her to her sister Procne thus enabling her and other weavers to take revenge on the rapist. All of these stories may serve to illustrate how this craft practiced almost exclusively by women could later be adapted to hide the secrets of Mary Magdalene and other information.
Again this may lead us to some additional assumptions about the Tapestry of Creation in Girona that does illustrate a Byzantine motif in far off Spain. The suspicions of many scholars as to the information included in textiles are hampered by how they deteriorate over time. Parallels have been drawn between information that was hidden in weaving and that hidden in ceramics or pottery leading to a great deal of speculation as to the similarities between both arts in this realm.
Any analysis of Theodora, Mary Magdalene, and the art of weaving may not be complete without examining the phenomena of the Cathars in Southern France. Some scholars place the origins of the Cathar philosophy in the Byzantine Empire yet its exact beginnings are unknown. Many cite an alternate name of the Cathars being “The Weavers.” Weaving was indeed part of Cathar values and likely also included the tradition of hiding secrets in their designs.
This is an amazing correlation to a later faith that espoused many seemingly Coptic beliefs coupled with other notions such as the world being ruled by “Rex Mundi” or the evil one that is the antithesis of the real God. It is said that many of their traditions are hidden in the art of weaving harkening us back to the mosaics of San Vitale that display Theodora, her Sister, and Sophia all whom were adept at the art of weaving as part of their training. Even in this mosaic representation of the Empress and her court’s clothes there seem to be revelations that may relate to the origins of the Cathars. It is also nearly certain that the mosaic artists of many eras may have practiced a similar encoding of concepts into their work.
This is an amazing correlation to a later faith that espoused many seemingly Coptic beliefs coupled with other notions such as the world being ruled by “Rex Mundi” or the evil one that is the antithesis of the real God. It is said that many of their traditions are hidden in the art of weaving harkening us back to the mosaics of San Vitale that display Theodora, her Sister, and Sophia all whom were adept at the art of weaving as part of their training. Even in this mosaic representation of the Empress and her court’s clothes there seem to be revelations that may relate to the origins of the Cathars. It is also nearly certain that the mosaic artists of many eras may have practiced a similar encoding of concepts into their work.
Is it possible that Theodora had wielded some sort of influence over the beliefs of the Cathars? It had been over five hundred years since the Empress had passed. If these ideas had in part come from Theodora and Sophia they had to have left a mechanism in place to help this concept stay vital. Theodora and Sophia represented an incredible amount of female power in an era in which it is generally thought that this did not exist. Weavers may have left clues creating a web of mystery involving the number eight of the spider.
In western cultures this may be one of the last examples of a strong women ruler among a male dominated Latin Church to the west. All of the pieces are there to suggest that the Weavers, Theodora, and Sophia had many concepts in common that may not be easily recognizable from one era to the next yet do exist. It is possible that a secret society or organization was left behind to ensure the survival of the information and creed that may have started with Theodora or even earlier Coptic notions of a women’s role in spiritual matters. It is possible that one of the more ingenious aspects of hiding this information included it being veiled in common artwork and architecture that could be decoded by initiates of those mysteries.
Via the art of weaving it is likely that some of these concepts had made their way to the Cathars even though it had been long after the time of Theodora and Sophia. Though the values of the Cathars are not strictly Coptic or Eastern in character the similar parts may have come from any wisdom encoded into woven fabrics and textiles that they knew how to read so to speak. It is also possible that other factions had also learned to encode mystery school beliefs into their work yet the themes that the character of Mary Magdalene’s image are built upon are present in both the values of Theodora and the Cathars. These similarities may serve to illustrate the truth in some scholar’s view that Cathars philosophy had indeed begun in the Byzantine Empire and that Sophia and Theodora were in large part responsible for the remembrance and value of Mary Magdalene.
Some researchers speculate that at the final siege of Montsegur that a cadre of a few Perfecti of the Cathars escaped with some items of immense spiritual importance. Further speculation states that among these items were the “Holy Grail” as well as important hidden information unique to the Cathars. The debate rages with regard to what the Holy Grail truly is even though medieval and renaissance literature refers to this item as a chalice or from another perspective the cup that Christ used at the last supper. Interestingly Theodora’s mosaic shows her holding a large golden jewel encrusted chalice. Is this rendering symbolic of the Holy Grail suggested as a metaphor for Mary Magdalene and the Bloodline of Christ? Is it possible that the Cathars version of the Holy Grail was a tapestry that contained all their secrets?
Given the subsequent lore and mythology of Mary Magdalene later in history one would be forced to consider the possibility that the appreciation of Mary Magdalene as included in a mystery school belief of bloodline is associated with Theodora and Sophia. These women may have taken steps that were very involved and complex to ensure the truth of Mary Magdalene would be exposed to all at some point later in history. Many events and movements through history could have been part of this hidden or cloistered information. At certain points it had obviously been dangerous to openly practice a belief that included a feminine aspect.
Recent interest in the Cathars is in no small part due to the figure and character of Leonardo Da Vinci. A great deal of speculation has gone on that suggests that he left hidden themes and images in his works. There is in fact a mystery associated with a series of paintings by Leonardo entitled “Madonna of the Yarn Winder.” Many art historians point to the theme of the painting and the inclusion of the yarn winder as being a reference to the Cathars. It is known that Leonardo held many alternate beliefs similar to those of the Cathars who also existed in Northern Italy where the artist spent a great deal of his life. It is not out of the question that Leonardo had been exposed to some of these concepts of the Cathars or Weavers including encoding messages in his artwork.
Further speculation may include the possibility that Leonardo was a member of whatever mystery school or secret society that had also dictated the existence of the Weavers. In short Leonardo may have been an adherent of the hidden philosophy of Theodora and Sophia. In fact later some sources point to how the Knights Templar and other orders valued what is known of as the Pistis Sophia. We have already noted how explorer James Bruce assembled ancient manuscripts that comprised the more modern version of the work that had been familiar later in Europe. Bruce had actually collected these manuscripts from Alexandria, Egypt where Theodora had been exposed to the Coptic teachings that seemed to echo through the ages to James Bruce via others like Leonardo. It may be that in his works of “Madonna of The Yarnwinder” Leonardo is telling us of a legacy that harkens back to Theodora, Sophia, and the Egyptian Coptic beliefs that these two powerful females held.
There are two paintings of “Madonna of the Yarnwinder” that are considered by art analysts to have been done by the hand of the Master. Each painting displays a similar scene of Mary seemingly attempting to take a yarnwinder in the shape of a cross from the infant Jesus who seems reluctant to let her have it. One painting that is considered entirely authentic is known of as the Buccleuch Madonna and displays a landscape background that includes a large body of water with an island included. The second version of “Madonna of the Yarnwinder” is thought to have been partially completed by Leonardo with one of his students completing the work. The background of this painting is different than the Buccleuch version in that it includes what appears to be a snow covered Alpine mountain setting in the background. This painting was so popular that nearly forty copies were made by noted artists over the years with many of these also being highly valued by collectors.
This painting is thought to display some of Leonardo’s alternate dualist philosophy. He is named as one of the Grand Masters of the possibly fictional Priory of Sion and his work has spawned an entire market of speculation involving his legacy of mystery. Many gnostic scholars believe that Leonardo is referring to the Cathars in this painting. The Cathars also occupied northern Italy where Leonardo spent a significant portion of his life so he may have been exposed to some of their ideas even though he lived at a later time. Leonardo is telling us that he is a Weaver and is entirely aware of their legacy possibly including the influence of Sophia and Theodora.
It is more than possible yet probable that Leonardo was aware of or had visited the amazing mosaics of San Vitale himself and had seen the same imagery noted here. A man of such awareness and intelligence would have known the history surrounding these mosaics and would have understood the millennial and hidden themes of the works. He lived in a region that had seen the ebbing and flowing of many different forms of Christianity including the Arian and gnostic faiths that were prevalent in that era. The fact that Leonardo is suspected of encoding many things into his work suggests a tradition at play similar to the Weavers and also what we may see in the establishment of the symbols associated with the United States later. These symbols were also propagated and valued by the family groups that owned both of these paintings that also played a major role in the history of the American Colonies and the United States of America.
The Buccleuch painting is thought to have once been owned by Louis XII or his secretary Florimond Robertet. The painting is thought to have been in the possession of the Buccleuch family since its purchase by the Duke of Montagu in 1756 from French collector. Prior to that its whereabouts were not known and was thought to have been lost in the French Revolution. The painting is now the part of the collection of the Scottish National Gallery in Edinburgh.
The second painting done partially by the hand of Leonardo is known of as the Landsdowne Madonna. The ownership of this painting is also interesting through its history. This piece is known as the “Landsdowne Madonna” because it was owned by the Marchionesses of Landsdowne for most of the nineteenth century. Next it came into the possession of a man named Cyril Flowers. Flowers by chance had married into one of the most powerful banking dynasties in the world. Flowers’ title was Lord Battersea and he was married to Constance Rothschild daughter of Sir Anthony Rothschild, 1st Baronet. Next the painting came into the possession of Robert Wilson Redford who married into one of the more influential Scottish families The Drummond’s.
The Drummond’s were also among the First Families of Virginia and from the same community as our interesting Hill family related to both the Marquis of Landsdowne and George Washington. The Drummonds are often linked with regard to strange interpretive artwork such as the Jerusalem Stone pyramid at Stirling built by William Drummond the Ethiopian explorer. The Drummond and Scott families may also have been involved in the development of the Great Seal of the United States and other engraving and artwork with many hidden interpretations.
An amazing correlation exists between the Marquis of Landsdowne, The mysteries of Williamsburg and Jamestown extending even to the Oak Island Treasure mystery. The illegitimate son of the second Marquis of Landsdowne was named William Hill. His daughter Mary wed Reade Colonial Governor of Virginia. William Hill is also said to be related to the earlier Hills of Jamestown who are also related to George Washington and several other influential First Families. William Hill was from the same group of Hills that later settled in Alexandria, Minnesota. Both Hill groups are related directly to Samuel Hill who created the Maryhill Museum of Art, Maryhill Stonehenge (replica WWI memorial), The Peace Arch on the border of Canada and the U.S. and the Palace of the Legion of Honor Art Museum in San Francisco. With this in mind it is no surprise that their family legacy also includes ownership of the “Landsdowne Madonna.” The Marquis of Landsdowne appeared to have a distinct inside track into understanding many of the mysteries we examine here.
In addition it appears as if the Henry G. Hill that was part of the Oak Island El Dorado Company is also related to the Marquis of Landesdowne. The Marquis of Landsdowne were also involved in the development of Nova Scotia and Newfoundland. One Hill even served as Governor of Newfoundland directly after the departure of Lord Calvert (Baltimore) for Jamestown after his attempt at colonization failed. Still another Hill would be named Governor of Newfoundland during the mid nineteenth century
It appears as if the Marquis of Landsdowne were aware of many of the mysteries afoot in this era of Canadian and United States history via their connections to individual families such as the Hills who indeed appear to be kin to them as well. How could this single family be involved or appear to have knowledge of so many unanswered questions of history? Were they looking for treasure or creating an intentionally false narrative? How did they know all this?
The Marquis of Lansdowne and the Buccleuch family both have the pedigree to have knowledge of and be interested in the mysteries of Leonardo or any mystery suggested by his works. The same may be said of whatever interest they had in goings on in Williamsburg and Minnesota. Many of their actions and places they valued showed interest in are associated with different treasure myths or tales of lost relics and information. Their possession of “Madonna of the Yarnwinder” also displays this value of unanswered history and mystery. Is it possible that these people had a belief in Mary Magdalene via this possible relic of what Theodora and Sophia had done or valued during their lives? Moreover does their fascination have anything to do with Oak Island or any of the other places they showed interest in?
Interestingly the Buccleuch Madonna though not owned by Landsdowne and his Nova Scotia connections, displays a landscape that includes what appears to be a bay connected to the ocean that even includes a small Island in the background. Here we see a scant clue that this painting may have been thought to display Oak Island by its owners. If this were true then it may mean that even Leonardo was aware of whatever was at Oak Island. Given what we have learned of possible interest in Oak Island and North America at large of the part of Trajan, Constantine, and Frederick II it may be true that Leonardo had knowledge of what ever secrets the Landsdowne’s and Bucceleuch’s had become privy to later in history. Leonardo lived in an era past the time all of these men lived yet during an time when some of these important octagonal structures were being built such as the octagons of Heidelberg Castle that Prince Rupert would later learn of. Leonardo appears to have had an intellect on a par with Michael Scot and other earlier magi so we may assume that even spherical geometry would have been easy for such a person.
The value of Mary Magdalene is apparent in several strong female figures in later in history. The struggle between Catholic and Elizabethan interests gives us two strong examples of possible acolytes of Mary Magdalene in the person’s of Mary Queen of Scots and Mary Sidney Countess of Pembroke. Both of these women were known to enjoy the art of embroidery and both were strong women that had likely been exposed to a value of the Magdalene via their upbringing and social status in England, Scotland, and France.
Part II: The Jacobite Movement and the Weaving of Mary Queen of Scots.
On the surface any examination of early colonial history included in what would become the United States could be attributed to the activities of Queen Elizabeth I and her successor James I. Hidden in the mix is the legacy of Mary Queen of Scots the mother of James I. Mary was Catholic and had been raised in France since a young age in part by Marie of Guise. Many of the Catholic Jacobite faction of the colonies valued Mary Queen of Scots as a symbol of their faith and the true blood of the English Monarchy. It was mainly because of Mary’s Catholic faith and her right to the crown that caused her end.
It may be that Mary Queen of Scots displayed some of the hidden tenets of a hidden or mystery school value. We have already witnessed this in the confidant and court member of Elizabeth I Mary Sidney Countess of Pembroke. This era would see the involvement and influence of these intelligent and powerful females possibly extending to the realm of appreciation of Mary Magdalene in a descent from the philosophies and beliefs of Empresses Theodora and Sophia. It is also possible that the concept of the Pistis Sophia also valued by many Freemasonic and Templar orders contributed to this alternate belief at this time.
In addition to their powerful roles that may explain the value of an equally strong and impressive woman in the form of Mary Magdalene, these Women also displayed a knowledge and heritage that directly involves the legacy of Theodora and her cadre of weaving nuns. It seems that Mary Queen of Scots had been trained in the arts of weaving and embroidery by her mother Marie of Guise. Both Marie and Mary also seemed to have been instructed in this craft at the St. Clare monastery of nuns near Paris France. This may be suggestive that both the famous name of St. Clare/St. Clair/Sinclair may also be associated with the actual namesake of the monastery as well as the legacy of the weavers in the tradition of Theodora and the Cathars.
While in captivity Mary Queen of Scots finished several beautiful examples of embroidery several of which were combined into a tapestry. Many of these panels depict wild life and domestic animals such as “a catte.” Some of the panels do communicate seemingly gnostic or hidden themes.
One panel displays the Phoenix bird rising from the ashes. This is also a theme later associated with the Great Seal of the United States and the Drummond family of Stirling and the Virginia Colony. Masonic teacher and philosopher Manly P. Hall also emphasizes the role and symbol of the Phoenix as a metaphor for a new world rising from the ashes. The Jacobite concerns that created the United States also adapted this symbol as a metaphor for their monarchy being re-established in the Americas despite it being replaced with the Hanoverian German nobility we see in England today. In fact the fallen kings of Norman Italy and Wales likely also valued this symbol in this context.
Among the panels on Mary Queen of Scots embroidered tapestry is one in particular that seems to contain many of the symbols present at many different phases and times of this mystery all present in a single symbol. These symbols are present on the Kensington Rune, the logo of the College of William and Mary, the Royal burial slabs of Monaco, Palacio Monctezuma in Spain, St. Sulpice in Paris, and gravestones at Rennes le Chateau. The Auspice of Mary symbol also is used to denote a consecrated place by the Church.
Each panel of Mary’s embroidery is situated inside an octagonal framed area that is also embroidered. As our studies show this shape is sacred and applies to many of these concepts value in a clandestine manner. It is almost a sign that says “There is mystery here.” The panel in question contains a large sun face similar to that seen on the Aztec Sunstone and Great Cyclic Cross of Hendaye. This design may indeed be alluding to the millennial themes of the Great Cross and Aztec Sunstone. It is likely the Sunstone would have been known of and wondered about by people of the class of Mary Queen of Scots, Mary Sidney, and Sir Francis Bacon.
Interestingly the panel also depicts a specific type of plant that appears to be a Scottish Thistle. This is the representative flower of Scotland and the namesake of the Order of the Thistle the Scots Royal Order. As discussed the collar of the Order of the Thistle includes the Auspice of Maria and X seen at these many different places that also include the legacy of the family both before and after Mary Queen of Scots. Strangely this vegetation also resembles the style of illustrations in the much written of and unsolved Voynich Manuscript. Many attributes John Dee or Edward Kelly with the production of this strange book that depicts a great deal of plant like and other undecipherable artwork. This is the same era of Mary Queen of Scots.
The most impressive element to this octagonal pattern containing a sun face is a smaller octagonal design located in the upper right hand quadrant of this panel. This octagon is embroidered in red so as to stand out in comparison to the background. Within this octagon is the Auspice of Mary symbol that extends beyond the frame of the octagon creating the “Hooked X” omega symbol of the Chi Rho. This design also contains the AVM letters representative of “Ave Maria.” It is almost as if Mary is telling us what this all means in one tidy little package that refers to several other places that has already been noted in previous works by this author as being directly involved in the mysteries that are associated. Here in one unique and discreet package is a compilation of all of these symbols that even relates it to the octagonal form as valued in the use of the Axis and Templum.
The presence of this symbol may indicate a value of Mary Magdalene and St. Andrew in the ways that were discussed earlier. How did these symbols end up on the Kensington Rune? A Rune that seems to be associated with the octagons of the Newport Tower, International Peace Garden, and Dome of the Rock. All three of these places given theories presented here point to the use of these octagons to legally describe property and stake out a spiritual domain of the design of its creator. Mary Queen of Scots was aware of this and she is telling us so using the ancient craft of weaving as propagated by Empresses Theodora and Sophia. Her direct progeny Charles I would built the octagonal Kings Knot at Stirling Castle. Believe it or Not many things about Rennes le Chateau are telling us “Stirling Castle.”
The art of weaving goes hand in hand with the hidden secrets of architecture and artwork. It is not out of the question that Mary Queen of Scots would hide some of her values and secrets using this ancient craft. These works were done while Mary was imprisoned or detained prior to her beheading. This is the time frame during which Robert Beale served as liaison between Mary and Queen Elizabeth. Mary was said have been quite fond of Robert Beale and gave him the gift of a diamond necklace at this time. Could this necklace be the true “Beale Treaure?”
It is likely that the colonial family of Robert Beale serves as the namesake for the famous Beale Treasure of Virginia. Aspects of the Beale family are also closely associated with the story of the Bruton Parish Church Vault in Williamsburg also referred to as “Bacon’s Vault.” In the personages of Robert Beale and Mary Queen of Scots we see one of the primary symbols of the Jacobite movement coupled with this octagonal Auspice of Mary rendering associated with a family that is known to be involved in two of the most well known treasure mysteries of Colonial Virginia if not the entire United States. Hmm?
These concepts also apply directly to the supposed treasure located on Oak Island Nova Scotia. It appears that any notion of a real treasure on Oak Island has been distorted from this folklore and mythology. Why are there treasure myths involving Sir Francis Bacon at both Williamsburg and Oak Island. Has the imagery of Bacon been mistakenly applied to Oak Island where it did not even exist in the first place? Why do different members of this family group keep popping up in association with each of the places that include this type of mythology and folklore? Some of the more down to earth theories concerning Oak Island involve it being repository for royal gold or the site of a business venture run by one of the family (Steele 2014).
Theodoric the Great, Empress Theodora, Ravanna, and the Cult of Mary Magdalene
Flavius Theodericus or Theodoric the Great (sometimes Theodoric) may represent the key to understanding the historical context under which the Rennes le Chateau mystery and Culture of Mary Magdalene were propagated for later generations. Note the inclusion of the name Flavius as part of his name. This is either a tribute to the Flavian dynasty of Rome by using their name as “King” or is Theodoric somehow related to Constantine or the Flavians?
Theodoric was educated in the Byzantine Royal Court of Emperor Zeno. He was a hostage in political negotiations between Theodoric’s father and Zeno. This aspect of his life would lend him a great understanding of Byzantine ways and military tactics. Though his Arian faith sometimes put him at odds with the Empire he would proceed through his life with an abiding respect for them and their royal heritage including Constantine. Theodoric’s Byzantine connections may explain the inclusion of “Flavius” being part of his Latin name.
Here within Theodoric’s relationship to Byzantine Ruler Zeno may be the origins of the value of the term “Arcadia” in a way that is suggestive of its use by Charles I, Philip Sydney, and it application in the Rennes le Chateau and Shugborough Hall mysteries later in history. Interestingly Zeno’s first wife was named Arcadia. Though there are no records of this it is highly possible that Arcadia was descendant of Emperor Arcadius who had ruled about 80 years prior to Zeno. Arcadius did indeed have a daughter named Arcadia as well so we may see how this name and concept came to be associated with the Byzantines and their Greek Culture. Obviously the name “Arcadia” and “Arcadius” derived from the myth of Arcas and the Greek province of Arcadia. During Roman times the entire Peloponnesus was referred to as “Arcadia.” The name of Zeno’s wife at the least was likely in veneration of Emperor Arcadius and his daughter Arcadia. We shall see how if his daughter Arcadia was somehow descendant of Emperor Arcadius the way she is of Merovingian blood.
During Theodoric’s time in the Byzantine Royal court it is possible that he became acquainted with both Arcadia and her daughters Hilaria and Theopiste. Zeno had one son named Zenon with Arcadia. Taking into account what we know about Rennes le Chateau and how the concept of Arcadia was applied there it is amazing that a unique spatial relationship may exist between Rennes le Chateau and Basilica San Vitale that involves the concept of Arcadia. In addition we will examine the overtones of how Theodoric once ruled Septimania where Rennes le Chateau is located. One of these reasons may revolve around how Ravenna was the center of the Christian and Military power of the Byzantine Empire in Rome.
Throughout the history of the Byzantine Empire a unique trade relationship existed between Venice and Constantinople. At various times the Republic of Genoa and Venice would compete for trade with the Byzantine Empire and they would even set up trade bases in what is today now Greece. It may even be true that Christopher Columbus was from the Greek Island of Axios as he was associated with the Republic of Genoa. The crosses seen on the sails of Columbus’ ships in many renderings are likely actually the St. George’s cross of the Republic of Genoa.
During the fourteenth Century a family known as Zeno became one of the more powerful trading families of Venice. Later two Zeno brothers would also be part of this saga by claiming that they had travelled with Henry Sincliar to North America though this is hotly disputed. Much of the evidence is shaky and their narrative is full of holes and wrong places names. Still it is amazing that we see the Zeno name being associated with the concept of Arcadia and later explorations associated possibly with Henry Sinclair. Previous works have discussed the involvement of Sinclair via his nephew William Sinclair who disappeared at the Battle of Teba in Spain with Sir James Douglas who carried the Heart of the Bruce into battle against the Moors. Is it possible that the Zeno brothers were somehow descendant of Byzantine Emperor Zeno? This connection would make sense given what we are about to learn here.
Though many credit Justinian I with the architectural and artistic wonders of Ravenna this assumption is only partially true. Basilica San Vitale itself was nearly complete by he time Justinian I took temporal control of Ravenna the year Theodoric passed. The Mausoleum of Theodoric is also an amazing structure that includes one of the largest single cut stones in the world. A somewhat more modern megalithic wonder. Some speculate that the techniques used to build his mausoleum included more ancient Roman techniques that may have been employed at Baalbek and other sites including megalithic stones.
Within the architectural wonderland of Ravenna lies Basilica San Vitale inspired by the Tower of the Winds of Athens and the octagons of Constantine including possibly the Dome of the Rock. Basilica San Vitale was indeed built prior to the Dome of the Rock and may have in part contributed to the legacy of that octagonal structure. Given its octagonal form it may be that this structure was built as a Prime Meridian or Axis Mundi meant to mark and establish a temporal domain. This concept is also repeated in the octagonal array of St. Peter’s Square including its Egyptian obelisk and windrose markers emblazoned with compass directions. Basilica ‘Sant Apollinaire Nuevo is also home to some revealing artwork and also may have inspired the design of the Church of St. Mary Justinian located on the Temple Mount in Jerusalem. This church is known today as the Al Aqsa Mosque. Some sources state this building was occupied by the famous Knights Templar during the Latin Kingdom of Jerusalem.
In many ways during the heyday of the Byzantine Empire Ravenna was the center of the Christian faith in Italy if not the entire Empire. The Arian and Eastern sensibilities of much of western world at this time were at odds with the Latin Church of Rome. Indeed later during the reign of Justinian I we can even see distinct differences in the professed faiths of Justinian and Empress Theodora. Theodora had been exposed to many gnostic and mystical concepts in her religious experiences learned during her life in Alexandria Egypt.
Both the values of Theodora and Theodoric were such that they may have included a belief in gnostic gospels and hidden information including that regarding Mary Magdalene as the wife of Jesus Christ. Both of their belief systems have direct ties to Alexandria Egypt and the kind of gnostic concepts that may not have been totally eliminated in the fifth and early sixth century era of which we speak. Many aspects of Justinian I era display tenets of a conflict between the Latin Church, Eastern Church, and alternate Christian beliefs such as Arianism.
Some of the more gnostic concepts valued by Empress Theodora were reflected in the Arian faith of Theodoric the Great who lived at the same time as the Empress. Arians believed in Christ as a gifted human being who had shared his thoughts in both deed and as an example to all of us in the name of God. These views are much in line with some of the views of Theodora possibly coupled with gnostic teachings she may have been exposed to in Alexandria. Both Theodora and Theodoric also coincidentally have similar names. If the Arians believed Christ was a man would it not also follow that they believed he had a wife and possibly children? This does make sense and is illustrated in some of the amazing family ties that Theodoric held.
Discussed earlier is how Theodora and her niece Sophia (Wisdom) may have created sects of weaving nuns who may have hidden these concepts in their art. Even Mary Queen of Scots may have been trained in the art of weaving by her mother Marie of Guise at the St. Clair monastery near Paris. All of these concepts would set the stage for later mysteries involving the Magdalene at Rennes le Chateau and other places. Over time there is a distinct pattern of those holding a belief that they may have been related to Christ or Constantine or both having created initiatory paths that told the truth of what they actually believed. In so doing they were repeating a pattern of mystery school activity and intrigue that had been played out by many persecuted or secret groups before them. In turn we some of these concepts including a value of the secrets of weaving being displayed by the Cathars who in large part occupied the region that was once known as Septimania in France and Northern Spain.
Theodoric the Great was married to Princess Audofleda sister of Merovingian King Clovis I. This obviously means that all of their progeny were also Merovingian blood. Though Theodoric’s line ended two generations later this will prove to be an interesting link to the Rennes le Chateau mystery. This marriage also provides us with a link directly not only to Theodeoric but Byzantine Emperor Arcadius whose daughter was also named Arcadia.
Clovis I is the grandson of Mellobaud one of the first Frankish Kings. Another son of Mellobaud is Flavius Bauto the father of Aelia Eudoxia who married Emperor Arcadius. Though confusing it appears the Bloodline of the Merovingians stemmed from Mellobaud whose son Richemar in turn spawned Clovis I. In short the blood of Aelia Eudoxia is Merovingian and had now been included in the Byzantine throne as wife of Arcadius whose name is strangely reminiscent of the entire concept of “Arcadia” as we see it applied at Shugborough Hall and Rennes le Chateau.
He we have now established a direct genetic lineage between the Merovingians and Byzantine royalty. Theodoric’s marriage to Audofleda now linked him to this bloodline of former Byzantine rulers. This displays how Byzantine Emperor Arcadius had married into the Merovingian dynasty. All of their children as well as those of Theodoric would thus be Merovingians. Here we may be exposing for the first time many hidden aspects of what would later apply to places like Rennes le Chateau. The Byzantines had intermarried with the Frankish rulers of the Merovingian Dynasty.
Many feel that the Rennes le Chateau mystery is rooted in the notion that the remains of the last Merovingian King Dagobert II are hidden somewhere in the Rennes le Chateau area. This idea also has led many to postulate that the remains of Mary Magdalene, Jesus, Joseph of Arimathea, or the Temple Treasure is stashed somewhere in the “environs” of Rennes le Chateau. All of these myths in turn have much in common with the “Man in the Mountain” mythology of Charlemagne and the Rosicrucian Order. So here we have our first inkling that things in Ravenna may be related to what is going on at Rennes le Chateau. As stated above we now have a direct genetic link between the Merovingians, Theodoric, and Byzantine Royalty. It also appears that the Merovingian belief in the blood of Christ did not emerge until after this family’s interphase with Byzantine Royalty. Is there more?
As it turns out the region of Septimania was ruled by Theodoric the Great for about a 27 year span and after that by his Merovingian family relations. Of Course Rennes le Chateau, Montsegur, Barcelona, Montserrat Monastery, Girona, and many other places of note in our studies are included within the geographic bounds of what was once Septimania.
Any seasoned Rennes le Chateau fanatic at this point does not need to be schooled in how many people believe Mary Magdalene is central to the belief system being expressed there. She may be either viewed as a reality or metaphor for real events that involved people who may have felt they had descended from her. In the past I have speculated geographic spatial relationships between Basilica San Vitale and some well known Rennes le Chateau landmarks.
If one creates an arc on the globe from Rennes Le Chateau Chapel to Basilica San Vitale in Ravenna this “line” on the globe transects Chateau Blanchefort thus also transecting the two tips of the star in Henry Lincoln’s analysis of the landscape there. The pentagon formed by this pentagonal array “points to” Basilica San Vitale. This arc on the globe also transects the village of Arques (Arcas thus Arcadia). Though seemingly a grand coincidence this array matches the mythology and history of how and why Basilica San Vitale may be used to interpret some of these concepts at Rennes le Chateau.
So while many have scoffed at the notion of Basilica San Vitale being related to Rennes le Chateau here now is a clear path as to why Theodoric may have valued what we see being told or taught to us later via the Rennes le Chateau phenomena. His wife and her children were directly related to both all of the concepts displayed there and several of the subsequent Merovingian rulers whose domain included Rennes le Chateau. Where in this story are the Blood of Christ and Mary Magdalene not being suggested to you in a very grand way? In both Ravenna and Rennes le Chateau? By a ruler whose domain included Rennes le Chateau later ruled by his Merovingian relatives? Boom. Though he may not adhere to what is being presented here even Henry Lincoln suggests his pentagram is being used to establish a domain in this tradition.
It is clear that both Theodora and Theodoric believed or valued concepts associated with gnostic and hidden wisdom or Sophia that are laid bare when one delves into the mysteries of Rennes le Chateau. All of this ties directly to Theodoric’s Arian Faith and Theodora’s eastern or possibly Coptic beliefs.
If history is correct then this bloodline eventually led to the Plantagenet dynasty of Norman England and France. Eventually we are led to the era of Sir Francis Bacon, Philip Sydney, Charles I, and Arcadia. Charles I last words are from a work entitled “Arcadia” by Philip Syndney. It appears now that Charles was expressing a sentiment that may have included many blood tie overtones leading us all the way back to the Royal Courts of Clovis I and Emperor Arcadius. “Et in Arcadia Ego.”
Knowledge of all of these concepts are displayed in the art collection of Thomas Jefferson and many others of his class during their era. An understanding of the technicalities of this kind of cartographic global game would have also been child’s play to Jefferson and the magi of the court of Justinian and Theodoric. There are many of this age including Alexander Von Humboldt, The Cassini Family, Edgar Allan Poe, and Antoine and Arnaud d’Abbadie to whom it would have been very easy to decipher or replicate these ideas.
None of these people hid anything. It was all left there for you………..in a very enduring and monumental fashion.